Love's Last Shift or The Fool in…
January 1696 CE
Love's Last Shift or The Fool in Fashion is an early herald of a massive shift in audience taste, away from the intellectualism and sexual frankness of Restoration comedy and towards the conservative certainties and gender-role backlash of exemplary (or sentimental) comedy.
Written by Colly Cibber amd performed at the Theatre Royal in January, the play is a great success, and Cibber’s own uninhibited performance as the Frenchified fop Sir Novelty Fashion ("a coxcomb that loves to be the first in all foppery") delights the audiences.
His name is made, both as playwright and as comedian.
Born in Southampton Street, in Bloomsbury, London, as the eldest child of Caius Gabriel Cibber, a distinguished sculptor originally from Denmark, his mother, Jane née Colley, comes from a family of gentry from Glaston, Rutland.
Educated at the King's School, Grantham, from 1682 until the age of sixteen, he had failed to win a place at Winchester College, which had been founded by his maternal ancestor William of Wykeham.
He had joined the service of his father's patron, Lord Devonshire, who was one of the prime supporters of the Glorious Revolution in 1688.
After the revolution, and at a loose end in London, he was attracted to the stage and in 1690 began work as an actor in Thomas Betterton's United Company at the Drury Lane Theatre.
Cibber had on May 6, 1693, married Katherine Shore, the daughter of Matthias Shore, sergeant-trumpeter to the King, despite his poor prospects and insecure, socially inferior job.
Cibber had had little success for several years.
At this time, the London stage is in something of a slump after the glories of the early Restoration period.
The King's and Duke's companies have merged into a monopoly, leaving actors in a weak negotiating position and much at the mercy of the dictatorial manager Christopher Rich.
When the senior actors rebel and established a cooperative company of their own in 1695, Cibber had stayed with the remnants of the old company.
After five years, he had still not seen significant success in his chosen profession, and there had been no heroic parts and no love scenes.
However, the return of two-company rivalry has created a sudden demand for new plays, and Cibber had seized this opportunity to launch his career by writing a comedy with a big, flamboyant part for himself to play.